SKU: 80481576854

ASKO Geschirrspüler DFI544DXXL

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Description

ASKO Geschirrspüler DFI544DXXLBeschreibung Der ASKO DFI544DXXL ist ein vollintegrierter Geschirrspler der XXL Klasse (86 cm Hhe), der sich durch ein extra grosses Fassungsvermgen und robuste Bauweise auszeichnet. Mit Platz fr 14 Massgedecke und einem flexiblen 3 Korb System bietet er maximalen Raum fr Ihr Geschirr. Dank der hohen Energieeffizienzklasse B splen Sie nicht nur grndlich, sondern auch besonders sparsam. Die Kombination aus bewhrter ASKO Technik wie der 8 Steel

Beschreibung

Der ASKO DFI544DXXL ist ein vollintegrierter Geschirrspüler der XXL-Klasse (86 cm Höhe), der sich durch ein extra grosses Fassungsvermögen und robuste Bauweise auszeichnet. Mit Platz für 14 Massgedecke und einem flexiblen 3-Korb-System bietet er maximalen Raum für Ihr Geschirr. Dank der hohen Energieeffizienzklasse B spülen Sie nicht nur gründlich, sondern auch besonders sparsam. Die Kombination aus bewährter ASKO-Technik wie der 8 Steel™ Konstruktion und effektiver Trocknung macht ihn zum langlebigen Partner in Ihrer Küche.

Wichtigste Merkmale:

  • Installation: Vollintegrierbar (XXL-Modell, 86 cm Nischenhöhe) mit Festtürmontage.

  • Kapazität: 14 Massgedecke auf 3 Ebenen.

  • Energieeffizienzklasse: B.

  • Geräuschpegel: 42 dB(A).

  • Trocknung: Turbo Combi Drying™ – Gebläsetrocknung mit automatischer Türöffnung.

  • Langlebigkeit: 8 Steel™ – wichtige Bauteile aus Edelstahl.

  • Reinigung: Super Cleaning System™ (SCS) macht Vorspülen unnötig.

Highlights & Vorteile

Der DFI544DXXL ist nach der 8 Steel™-Philosophie gefertigt: Der Spülraum, die Sprüharme, die Siebe und weitere wasserführende Teile bestehen aus hochwertigem Edelstahl, nicht aus Kunststoff. Das sorgt für Hygiene und Haltbarkeit über viele Jahre.

Für hervorragende Trocknungsergebnisse sorgt das Turbo Combi Drying™ System. Ein Gebläse führt die feuchte Luft aktiv ab, und am Ende des Programms öffnet sich die Tür automatisch (Auto Door Opening), damit die Restfeuchte entweichen kann. So wird auch Kunststoffgeschirr trocken.

Das Super Cleaning System™ (SCS) erspart Ihnen das Vorspülen von Hand. Die Maschine reinigt das Geschirr und die Filter vor dem Hauptwaschgang, sodass dieser immer mit sauberem Wasser beginnt.

Programme & Funktionen

Der DFI544DXXL bietet eine solide Auswahl an Programmen für den täglichen Bedarf:

Verfügbare Programme:

  • Eco-Programm: Sparsam und effizient (0,64 kWh / 9,2 Liter).

  • Universal: Für den normalen, täglichen Abwasch.

  • Quick Pro: Schnelle Reinigung für leicht verschmutztes Geschirr.

  • Hygiene-Programm: Hohe Temperaturen für maximale Sauberkeit (z.B. Babyflaschen).

  • Intensiv-Programm: Kraftvoll gegen starken Schmutz.

  • Zeitprogramm: Sie bestimmen die Laufzeit.

  • Vorspülen (Rinse & Hold): Kurzes Abspülen gegen Gerüche.

  • Selbstreinigung & Anti-Geruch.

Modi & Optionen:

  • Speed Mode: Verkürzt die Programmdauer bei höherem Verbrauch.

  • Night Mode: Leiserer Betrieb für die Nacht.

  • Super Rinse™: Zwei zusätzliche Spülgänge für Allergiker.

  • Startzeitvorwahl: Bis zu 24 Stunden im Voraus planbar.

Konstruktion & Technik

  • 3 Sprüharme aus Edelstahl.

  • 9 Sprühzonen, inklusive Cutlery Spray™ für den Besteckkorb und Power Zones.

  • Sensoren: Aqua Level™ (Wasserstand) sorgt für den optimalen Verbrauch.

Ausstattung & Korbsystem

Das 3-Korb-System bietet viel Stauraum:

  1. Oberbesteckschublade (Top Tray): Höhenverstellbar, herausnehmbar – ideal für Besteck und kleine Teile.

  2. Oberkorb (Premium): Höhenverstellbar, aus Stahlgeflecht, mit festen Stachelreihen, Standard-Messerhalter und klappbaren Weinregalen.

  3. Unterkorb (Premium): Mit festen Stachelreihen, klappbaren hinteren Stachelreihen und einem herausnehmbaren Besteckkorb.

Bedienung & Komfort

  • Display: Übersichtliches LCD-Display an der Türoberkante.

  • Status Light™: Ein Lichtpunkt am Boden zeigt an, ob das Programm noch läuft.

  • Akustisches Signal: Am Programmende (zusammen mit Lichtanzeige).

  • Sprachwahl: Menüführung in Deutsch, Französisch, Italienisch, Englisch u.v.m.

  • Hinweis: Dieses Modell verfügt nicht über WLAN/ConnectLife.

Technische Daten

  • Modell: ASKO DFI544DXXL

  • Typ: Vollintegrierter XXL-Geschirrspüler (86 cm)

  • Kapazität: 14 Massgedecke

  • Energieeffizienzklasse: B

  • Geräuschpegel: 42 dB(A)

  • Energieverbrauch (Eco): 0,64 kWh pro Zyklus / 64 kWh pro 100 Zyklen

  • Wasserverbrauch (Eco): 9,2 Liter pro Zyklus

  • Programmdauer (Eco): 195 Minuten

  • Anschlusswert: 1900 W (220-240 V, 10 A)

  • Wasseranschluss: Kalt oder Warm (max. 70°C)

  • Gewicht: 36,7 kg netto

Einbau, Masse & Aufstellung

  • Nischenmasse (H x B x T): min. 860 mm x 600 mm x 560 mm

  • Gerätemasse: Höhe 859–912 mm, Breite 596 mm, Tiefe 554 mm

  • Tiefe bei offener Tür: 1231 mm

  • Frontmontage: Klettbänder zur einfachen Justierung der Möbelfront (Höhe 700-800 mm). Feste Türmontage (kein Vario-Scharnier/Gleittür).

  • Anschlüsse: Zulauf 163 cm, Ablauf 200 cm, Strom 173 cm.

Sicherheit & Wartung

Das Aqua Safe™ System schützt vor Wasserschäden (PEX-Schlauch, versiegelte Bodenwanne, Sensoren). Kindersicherung (Kid Safe™) und Nachfüllanzeigen für Salz/Klarspüler sind vorhanden.

Service & Garantie

Beim Kauf über asko-shop.ch profitieren Sie von der 5 Jahre Vollgarantie. ASKO garantiert zudem eine Ersatzteilverfügbarkeit von mindestens 15 Jahren – ein Versprechen für Qualität und Nachhaltigkeit.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 80481576854

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4.8 ★★★★★
Based on 30 reviews
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Product Reviews
M
Verified Purchase
MB
Alexandria, US
★★★★★ 5
Hydrating
New fav. My teenager loves it
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 10, 2026
R
Verified Purchase
Ruth
Belleville, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 19, 2026
L
Verified Purchase
Lana
Charlottesville, US
★★★★★ 5
Good
Good
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 22, 2026
D
Verified Purchase
dra
Fort Morgan, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
West Palm Beach, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 25, 2007

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